La Traviata

Opera Q returns to QPACs Lyric Theatre stage with a triumphant La Traviata, doing justice to what is the jewel in Verdi’s operatic oeuvre. With a consumptive heroine, a wealthy lover, and a father hell-bent on avenging his family’s honour, the plot is ripe for melodramatic excess and this production does not hold back.

Staged in modern-dress, with a striking mirrored cube centrepiece and a multitude of chandeliers broken or otherwise, Kate Cherry’s production is not only a visual delight but a truly satisfying aural experience.

Dumas’ Lady of the Camelias, better known as Camille, has always been seen as the ultimate tragic heroine and Verdi’s adaptation of it has made it one of opera’s most coveted diva roles. Violetta in Emma Pearson’s hands was a vibrant and joyous party-animal leading the company in a show-stopping ‘brindisi,’ and pulling every ounce of emotion out of Act 2s famous aria, ‘Amami Alfredo! Quant’io t’amo! Addio’. She was in glorious voice and there wasn’t a dry eye in the house!

Aldo De Toro’s Alfredo was a good match vocally, physically made for an ardent lover, and together their death scene finale was potent. Jonathon Summers’ distinctive baritone brought unbridled passion to the manipulative father Giorgio, whilst Emily Burke, Hayley Sugars and Jason Barry-Smith were all accomplished in minor roles.

The Opera Queensland Chorus was a harmonic joy with their accompanying choral work.

Christina Smith’s costumes were mostly black or grey with the men in dinner suits and the ladies in elegant fishtail dresses. In contrast Violetta’s red ball gown in the first act was a welcome splash of colour, as was Flora’s eye-catching russet fishtale creation.

The Queensland Symphony Orchestra under Johannes Fritzsch’s baton was expressive and particularly pleasing on Act 3s ‘entr’acte.’ Although the production was a bit on the static side, not helped by the occasional tableau, the emotional highs of Verdi’s masterful score pulled it through.

Peter Pinne

Image: Stephanie Do Rozario